Chapter XVI: The Vatican (4)

Sixtus IV. and his Court: _Melozzo da Forlì_. A fresco, removed
from the Vatican library by Leo XII., which is a most interesting
memorial of an important historical family. Near the figure of the
pope, Sixtus IV., who is known to Roman travellers from his
magnificent bronze tomb in the Chapel of the Sacrament at St.
Peter's, stand two of his nephews, of whom one is Giuliano della
Rovere, afterwards Julius II., and the other Pietro Riario, who,
from the position of a humble Franciscan monk, was raised, in a few
months, by his uncle, to be Bishop of Treviso, Cardinal-Archbishop
of Seville, Patriarch of Constantinople, Archbishop of Valentia,
and Archbishop of Florence, when his life changed, and he lived
with such extravagance, and gave banquets so magnificent, that
"never had pagan antiquity seen anything like it;"[355] but within
two years "he died (not without suspicion of poison), to the great
grief of Pope Sixtus, and to the infinite joy of the whole college
of cardinals."[356] The kneeling figure represents Platina, the
historian of the popes and prefect of the Vatican library. In the
background stand two other nephews of the pope, Cardinal Giovanni
della Rovere, and Girolamo Riario, who was married by his uncle (or
father?), the pope, to the famous Caterina Sforza,--was suspected
of being the originator of the conspiracy of the Pazzi,--was
created Count of Forlì, and to whose aggrandisement Sixtus IV.
sacrificed every principle of morality and justice: he was murdered
at Forli, April 14th, 1488. Beneath is inscribed:

"Templa domum expositis fora mœnia pontes:
Virgineam Trivii quod repararis aquam
Prisca licet nautis statuas dare commoda portus:
Et Vaticanum cingere Sixte jugum:
Plus tamen urbs debet: nam quæ squalore latebet.
Germitur in celebri bibliotheca loco."

_4th Room._--

ENTRANCE WALL:

32. The Martyrdom of SS. Processus and Martinianus, the gaolers of
St Peter: _Valentin_. It is stigmatised by Kugler as "an
unimportant and bad picture," but, perhaps from the connection of
the subject with the story of St Peter, has been thought worthy of
being copied in mosaic in the basilica, whence this picture was
brought.

"This picture is terrible for dark and effective expression; it is
just one of those subjects in which the Caravaggio school
delighted."--_Jameson's Sacred Art._

33. Martyrdom of St. Peter: _Guido Reni_.

"This has the heavy powerful forms of Caravaggio, but wants the
passionate feeling which sustains such subjects,--it is a martyrdom
and nothing more,--it might pass for an enormous and horrible genre
picture."--_Kugler._

34. Martyrdom of St. Erasmus: _N. Poussin_. A most horrible picture
of the disembowelment of the saint upon a wheel. It was copied in
mosaic in St Peter's when the picture was removed from thence.

LEFT WALL:

35. The Annunciation: _Baroccio_. From Sta. Maria di Loreto,
detained in the Vatican in exchange for a mosaic, after it was sent
back by the French.

36. St. Gregory the Great--the miracle of the Brandeum: _Andrea
Sacchi_.

"The Empress Constantia sent to St. Gregory requesting some of the
relics of St. Peter and St. Paul. He excused himself, saying that
he dared not disturb their sacred remains for such a purpose,--but
he sent her part of a consecrated cloth (Brandeum) which had
enfolded the body of St. John the Evangelist. The empress rejected
this gift with contempt: whereupon Gregory, to show that such
things are hallowed not so much in themselves as by the faith of
believers, laid the Brandeum on the altar, and after praying he
took up a knife and pierced it, and blood flowed as from a living
body."--_Jameson's Sacred Art_, p. 321.

37. The Ecstasy of Sta. Michelina: _Baroccio_. This picture is
mentioned by Lanzi as "Sta. Michelina estatica _sul Calvario_." The
story appears to be lost.

BETWEEN THE WINDOWS:

The Madonna and Child with St. Jerome and St. Bartholomew: _Moretto
da Brescia_ (_Buonvicino_).

38. The Dream of Sta. Helena (of the finding of the true Cross):
_Paolo Veronese_. Once in the Capitol collection.

RIGHT WALL (RETURNING):

39. Madonna with St. Thomas and St. Jerome: _Guido_. The St. Thomas
is very grand.

40. Madonna della Cintola with St. John and St. Augustin. Signed
1521: _Cesare da Sesto_.

41. Salvator Mundi. Christ seated on the rainbow: _Correggio?_

42. St. Romualdo: _Andrea Sacchi_. The saint sees the vision of a
ladder by which the friars of his Order ascend to heaven. The monks
in white drapery are grand and noble figures.

"It is recorded in the legend of St. Romualdo, that, a short time
before his death, he fell asleep beside a fountain near his cell;
and he dreamed, and in his dream he saw a ladder like that which
the patriarch Jacob beheld in his vision, resting on the earth, and
the top of it reaching to heaven; and he saw the brethren of his
Order ascending by twos and by threes, all clothed in white. When
Romualdo awoke from his dream, he changed the habit of his monks
from black to white, which they have ever since worn in remembrance
of this vision."--_Jameson's Monastic Orders_, p. 117.

* * * * *

A door on the ground-floor of the Cortile di S. Damaso will admit visitors (with an order) to visit the _Papal Manufactory of Mosaics_, whence so many beautiful works have issued, and where others are always in progress.

"Ghirlandajo, who felt the utmost enthusiasm for the august remains
of Roman grandeur, was still more deeply impressed by the sight of
the ancient mosaics of the Christian basilicas, the image of which
was still present to his mind when he said, at a more advanced age,
that 'mosaic was the true painting for eternity.'"--_Rio._